Subject: Soldiers grooming horses in stable; by and after F. Fabromius, Stannard & Dixon. Subject: Soldiers grooming horses in stable; by and after F. Fabromius, Stannard & Dixon. Title continues: composed and respectfully inscribed by permission to Captain Coster, 16th Queen Lancers by J.G. Jones. (Master of the Band) Pr. 3/-

One of a collection of 12 original signed watercolors of uniforms signed Cedric. Figure in gray and white facing right. One of a collection of 12 original signed watercolors of uniforms signed Cedric. Figure in gray and white facing right. Unbound; in red cloth portfolio stamped gold; slightly soiled. London, Foster Groom, 1950.

Subject: Soldiers and band on parade outside St. James's Palace, in enframement of flags. Subject: Soldiers and band on parade outside St. James's Palace, in enframement of flags. At top of sheet: Stephen Glover's last new march. Price 2/-

Subject: uniform group showing sergeant (full dress), office (full dress), private (undress); Concanen & Lee Lith, Stannard & Dixon. Subject: uniform group showing sergeant (full dress), office (full dress), private (undress); Concanen & Lee Lith, Stannard & Dixon.

Photogravure by Goupil after painting signed and dated 1880 by de Neuville; German officers drinking and sitting at table outside French country tavern and examining French spy brought before them by two soldiers. Photogravure by Goupil after painting signed and dated 1880 by de Neuville; German officers drinking and sitting at table outside French country tavern and examining French spy brought before them by two soldiers. Oblong folio; margins intact. From the estate of Admiral William Whiteside, 1988.

composed by P.S. Gilmore. Cover title. For voice and piano. At head of cover: To the Tremont Batallion of Zouaves (Major Edwd. B. Dickinson) Cover lithographic illustration by Bufford of a regimental group depicting zouaves.

Three people carrying food Three people carrying food Designed for the United States Food Administration Promotional goal: U.S.A1.J7. 1918

In this image, the crowned heads of Europe watch the gruesome spectacle of the bull fight from their seats in the Theatre Royale de L'Europe that over look the bull ring. They are (identified by M. D. George, from left to right): George III, the Emperor of Austria, John, the Regent of Portugal, Alexander "the Great" of Russia, the Emperor of Prussia, the King of Sweden, the Pope, the Sultan of turkey, and the Dey of Algiers. All of these figures are engaged with the performance that is occurring in the center. Some applaud and wave their hats in celebration, while others--the Tsar and the Emperor of Prussia--look on with expressions of concern or caution. The Pope, who is decked out in full regalia at the right side of the image, displays a sheet of paper on which is inscribed "The Bull for Excommunicating the Corsican Usurper." In the center a wild 'Spanish Bull' uses his horns to toss Napoleon topsy-turvy into the air. Napoleon flails his arms in surprise and in pain: he has lost his hat and a piece of paper on which is written "Plan pour Assujettir le Monde." Napoleon has also broken his sword, the tip of which is lodged in the bull's fore flank. Even though wounded, the bull fights back and gores Napoleon in his left thigh. The golden chain and collar, inscribed Corsican Chain, around the bull's neck has begun to give way. In fighting off Napoleon, the Spanish Bull has also trampled Joseph Bonaparte who, here, lies dead under the bull's body. Adding insult to injury, the bull also urinates on Joseph's face while prancing on his chest and thighs. A paper next to the corpse identifies Joseph with the words, "Coronation de Joseph Bonaparte, Rex Espagnole Gibralter et... Nap..." In the lower left of the image three mutilated bulls lie in a heap and bellow in pain. Each bull has a ticket staked into their sides, on these is inscribed: Prussian Bull Beef, Dutch Bull Beef, and Danish Bull Beef. A vertical inscription in the right border identifies the "Wounded Bulls Bellowing for Help." In this image, the crowned heads of Europe watch the gruesome spectacle of the bull fight from their seats in the Theatre Royale de L'Europe that over look the bull ring. They are (identified by M. D. George, from left to right): George III, the Emperor of Austria, John, the Regent of Portugal, Alexander "the Great" of Russia, the Emperor of Prussia, the King of Sweden, the Pope, the Sultan of turkey, and the Dey of Algiers. All of these figures are engaged with the performance that is occurring in the center. Some applaud and wave their hats in celebration, while others--the Tsar and the Emperor of Prussia--look on with expressions of concern or caution. The Pope, who is decked out in full regalia at the right side of the image, displays a sheet of paper on which is inscribed "The Bull for Excommunicating the Corsican Usurper." In the center a wild 'Spanish Bull' uses his horns to toss Napoleon topsy-turvy into the air. Napoleon flails his arms in surprise and in pain: he has lost his hat and a piece of paper on which is written "Plan pour Assujettir le Monde." Napoleon has also broken his sword, the tip of which is lodged in the bull's fore flank. Even though wounded, the bull fights back and gores Napoleon in his left thigh. The golden chain and collar, inscribed Corsican Chain, around the bull's neck has begun to give way. In fighting off Napoleon, the Spanish Bull has also trampled Joseph Bonaparte who, here, lies dead under the bull's body. Adding insult to injury, the bull also urinates on Joseph's face while prancing on his chest and thighs. A paper next to the corpse identifies Joseph with the words, "Coronation de Joseph Bonaparte, Rex Espagnole Gibralter et... Nap..." In the lower left of the image three mutilated bulls lie in a heap and bellow in pain. Each bull has a ticket staked into their sides, on these is inscribed: Prussian Bull Beef, Dutch Bull Beef, and Danish Bull Beef. A vertical inscription in the right border identifies the "Wounded Bulls Bellowing for Help." George notes that this image published by Fores is most likely a copy of the Gillray issued by H. Humphrey on the same date. George attributes this copy to Williams. Broadley, on the other hand does not mention the Gillray original published by Humphrey and instead attributes this sheet to Gillray, not Williams. It is possible that Gillray 'pirated' his own print and sold a version to Fores. Inscription: Published July 11th 1808 by S. W. Fores No. 50 Picadilly.

Hand-colored engraving (crude); officers standing by gun and flag outside citadel, another offering keys; [see also Taking the city of Buenos Ayres by the British forces; and The British troops entering the Citadel]. Hand-colored engraving (crude); officers standing by gun and flag outside citadel, another offering keys; [see also Taking the city of Buenos Ayres by the British forces; and The British troops entering the Citadel]. Narrow small folio, matted; margins severely trimmed; soiled. N.Y., Rockman Prints, 1955.

Napoleon, the Corsican Matador, has successfully wounded several bulls that represent Prussia, Denmark and Holland. In his attempt to slay the Spanish bull, he has been gored in the backside by the animal in revolt. Although Napoleon has been injured, and Joseph Bonaparte trampled in the ring, the Spanish bull has been stabbed by Napoleon's sword. Monarchs comfortably sitting behind a stage wall in the "Theatre of Europe" watch over the fight and cheer the bull forward. Napoleon, the Corsican Matador, has successfully wounded several bulls that represent Prussia, Denmark and Holland. In his attempt to slay the Spanish bull, he has been gored in the backside by the animal in revolt. Although Napoleon has been injured, and Joseph Bonaparte trampled in the ring, the Spanish bull has been stabbed by Napoleon's sword. Monarchs comfortably sitting behind a stage wall in the "Theatre of Europe" watch over the fight and cheer the bull forward. British Museum, BM 10997a. This sheet, published by James Miller, is a copy after Gillray's engraving originally published by Humphrey, 1808-06-11. Caption: "The Spanish Bull is so remarkable for the Spirit, that unless the Matador strikes him Dead at the First Blow, the Bull is sure to destroy him; - vide Barretti's Travels." Caption: Wounded Bulls bellowing for help Inscription: 1808 Label(s): Prussian Bull Beef, Dutch Bull Beef, Danish Bull Beef Miscellaneous: "The Bull for Excommunicating the Corsican Usurper." Miscellaneous: "Coronation de Joseph Boanaparte Rex Espagnol--Gibralter--&c. Nap."

Two bellowing and snorting bulls (l.) chase Joseph Bonaparte (r.) out of Spain. The Bulls are branded with the names "John Bull" and "Don Bull," as they charge they exhale breaths of Liberty from their flared nostrils. Running at John Bull's far side, Don Bull has just broken loose from a shackle inscribed "Corsi[can] Chain"; his head is lowered in preparation to gore the mule with his horns. A large bushel strapped to the sides of "John Bull" is filled with swords and bayonets. A sign on the outside of this basket reads, "G, IIIrd REX," thereby clearly highlighting Britain's role in defeating Joseph Bonaparte. His face furrowed in distress, Joseph beats his retreat while hunched over the back of a mule. Urged forward by a knotted black whip, the mule struggles under its burden of both the king and the treasures loaded onto its back. Joseph appears ridiculous wearing a cape, a ruff, and a suit slashed in the Spanish style. In flight, his crown falls backwards off his head while gold coins spill from the sack tied to the back of the saddle. Additionally, a golden chalice and candlestick are tied to the mule's tail. These and other symbols of Catholic ritual--such as the large cross that hangs around Joseph's neck--suggest that ardent Catholicism is one of tyranny's trappings. At the far right of the image, two wagons loaded with "Church Plate" and "Spanish Regalia" are pulled by Bonapartist troops in the direction of Bayonne. This weary cortège is hampered by a dark storm cloud that follows them on their path. In the left distance, the clear sunshine of patriotism breaks through the clouds and shines down on the walled city of Madrid. A group of European sovereigns gathers on a distant hilltop in the center of the image. From their vantage point, the rulers cheer the departure of Joseph Bonaparte and the oppressive weather that follows him. Two bellowing and snorting bulls (l.) chase Joseph Bonaparte (r.) out of Spain. The Bulls are branded with the names "John Bull" and "Don Bull," as they charge they exhale breaths of Liberty from their flared nostrils. Running at John Bull's far side, Don Bull has just broken loose from a shackle inscribed "Corsi[can] Chain"; his head is lowered in preparation to gore the mule with his horns. A large bushel strapped to the sides of "John Bull" is filled with swords and bayonets. A sign on the outside of this basket reads, "G, IIIrd REX," thereby clearly highlighting Britain's role in defeating Joseph Bonaparte. His face furrowed in distress, Joseph beats his retreat while hunched over the back of a mule. Urged forward by a knotted black whip, the mule struggles under its burden of both the king and the treasures loaded onto its back. Joseph appears ridiculous wearing a cape, a ruff, and a suit slashed in the Spanish style. In flight, his crown falls backwards off his head while gold coins spill from the sack tied to the back of the saddle. Additionally, a golden chalice and candlestick are tied to the mule's tail. These and other symbols of Catholic ritual--such as the large cross that hangs around Joseph's neck--suggest that ardent Catholicism is one of tyranny's trappings. At the far right of the image, two wagons loaded with "Church Plate" and "Spanish Regalia" are pulled by Bonapartist troops in the direction of Bayonne. This weary cortège is hampered by a dark storm cloud that follows them on their path. In the left distance, the clear sunshine of patriotism breaks through the clouds and shines down on the walled city of Madrid. A group of European sovereigns gathers on a distant hilltop in the center of the image. From their vantage point, the rulers cheer the departure of Joseph Bonaparte and the oppressive weather that follows him. Published by [Walker No. 7 Cornhill]. George writes that although Joseph Bonaparte is frequently depicted as headed for southern France, in actuality, he fled to northern Spain. Additionally, she identifies this print as the 'sequel' to James Gillray's The Spanish-Bull-Fight, --or--The Corsican Matador in Danger (Broadley 814, BM 10997). 08-09-00 Annotation: 3- Collector's Mark: [a triangle (?) or 4] Collector's Mark: A

Original pen and ink sketch, signed RG, of a soldier with his rifle in Guam. Original pen and ink sketch, signed RG, of a soldier with his rifle in Guam. Upright small folio; margins; yellowed.

Hand-colored engraving by and after Samuel and Nathaniel Buck; view of walled city seen across river, showing small figures of promenaders in foreground, including group of soldiers at right. Hand-colored engraving by and after Samuel and Nathaniel Buck; view of walled city seen across river, showing small figures of promenaders in foreground, including group of soldiers at right. Narrow oblong folio, matted; plate mark, margins trimmed; clean, creased. London, Parker Gallery, 1952.

Original watercolor signed by Simkin; standing uniform figure facing left. Original watercolor signed by Simkin; standing uniform figure facing left. Upright; matted; margins; surface dirt.

Part of collection of 66 original signed oil paintings on fiber-board by Harry Payne for Gale & Polden postcards; 2 infantrymen standing with grounded rifles, in conversation, outdoors. Part of collection of 66 original signed oil paintings on fiber-board by Harry Payne for Gale & Polden postcards; 2 infantrymen standing with grounded rifles, in conversation, outdoors. Folio, unbound; some edges etc. soiled and worn, but images in good condition; in 2 red cloth cases, red leather label stamped gold. London, Francis Edwards, 1966.

11th in collection of 11 original watercolors signed by Norie; 6 uniform figures standing or seated around gun caisson and horse, facing right, spotter with flag. 11th in collection of 11 original watercolors signed by Norie; 6 uniform figures standing or seated around gun caisson and horse, facing right, spotter with flag. Folio and large folio, matted; margins; clean. London, Parker Gallery, 1953.

46th in collection of 61 tempera drawings on board, signed, and most dated, by McNeill, for Gale and Polden postcard series of uniform figures and groups (all infantry regiments and RAMC units shown except the following, for which drawings were either not made or else are now lacking : 1st, 4th, 17th, 19th, 21st, 37th, 38th, 52nd, 64th, 75th); 2 infantrymen with grounded rifles, in conversation, wall and pillar in background; note on verso: "24th". 46th in collection of 61 tempera drawings on board, signed, and most dated, by McNeill, for Gale and Polden postcard series of uniform figures and groups (all infantry regiments and RAMC units shown except the following, for which drawings were either not made or else are now lacking : 1st, 4th, 17th, 19th, 21st, 37th, 38th, 52nd, 64th, 75th); 2 infantrymen with grounded rifles, in conversation, wall and pillar in background; note on verso: "24th". Oblong and upright, 61 pieces; a few soiled; in folio red cloth case, red leather label st. gold. London, Francis Edwards, 1966.

Unsigned original watercolor by McNeill; 2 infantrymen in red jackets, green trim, with grounded rifles, in conversation; building in background. Title on verso. Unsigned original watercolor by McNeill; 2 infantrymen in red jackets, green trim, with grounded rifles, in conversation; building in background. Title on verso. Upright; no margins; stained.

Original watercolor signed and dated by Howell; standing uniform figure. Original watercolor signed and dated by Howell; standing uniform figure. Upright folio; margins intact; clean.

Part of collection of 66 original signed oil paintings on fiber-board by Harry Payne for Gale & Polden postcards; infantryman facing forward, standing at attention with grounded rifle; note on verso : "5th set, no. 72". Part of collection of 66 original signed oil paintings on fiber-board by Harry Payne for Gale & Polden postcards; infantryman facing forward, standing at attention with grounded rifle; note on verso : "5th set, no. 72". Upright folio on board, unbound, in red portfolio stamped gold, "Original oil paintings for British regimental prints c. 1900-1910".

by J.W. Turner. For voice and piano. Illustrated title page: engraving of Davis in female dress, with gold and knife, wearing boots and spurs, running under noose hanging from apple tree limb; "3" in star / H.F. Greene, Engr.

Subject: 5 vignettes of campaing scenes; H.G. Banks, Lith. Subject: 5 vignettes of campaing scenes; H.G. Banks, Lith. Title continues: A grand descriptive march, founded on operatic airs, and composed by Jules Lorraine. Pr. 3/-

Engraving by W. Sharp after Trumbull, published Jany. 1, 1799; General George Elliott, soldiers and officers, some at left with axes etc., coming down from ramparts, officer (José de Barboza) dying on ground in center foreground. Engraving by W. Sharp after Trumbull, published Jany. 1, 1799; General George Elliott, soldiers and officers, some at left with axes etc., coming down from ramparts, officer (José de Barboza) dying on ground in center foreground. Large oblong folio, matted; margins trimmed; worn. N.Y., Rockman Prints, 1948.

3rd in collection of 4 color aquatints by Sutherland, Havell after Laird, published June 4th, 1836; battle scene, intense combat in foreground, bombs exploding among soldiers and houses in background. 3rd in collection of 4 color aquatints by Sutherland, Havell after Laird, published June 4th, 1836; battle scene, intense combat in foreground, bombs exploding among soldiers and houses in background. Large oblong folio, matted; some margins trimmed; clean. From 'I.W. Laird's Military Achievements'. London, Parker Gallery, 1965.

Published in celebration of Napoleon's exile to Elba, this precisely drawn satire depicts Napoleon seated on a rocky outcropping, contemplating his solitude. Sword lying by his side, Napoleon cries streams of tears while looking across the ocean at the ships in the harbor of the "Continent of Europe." Ravens and bats circle over his head, signifying his dark nature and the doom that awaits him. George notes that this is a reissue of the illustrated broadside entitled "Crocodile's Tears; or, Bonaparte's Lamentation, A New Song," printed here without the accompanying verses. Published in celebration of Napoleon's exile to Elba, this precisely drawn satire depicts Napoleon seated on a rocky outcropping, contemplating his solitude. Sword lying by his side, Napoleon cries streams of tears while looking across the ocean at the ships in the harbor of the "Continent of Europe." Ravens and bats circle over his head, signifying his dark nature and the doom that awaits him. George notes that this is a reissue of the illustrated broadside entitled "Crocodile's Tears; or, Bonaparte's Lamentation, A New Song," printed here without the accompanying verses. Published by John Wallis, 1814-04-15. British Museum, BM 12223. In technique, scale and composition, this sheet resembles satires made in France. Caption: Published April 15 1814, by John Wallis, 42 Skinner Street, London

music by Apelles ; words by a cadet. For voice and piano. The words are by J. Watts Robinson. Cf. H. Dichter. Early American sheet music, 1941, p. 100. Cover lith. ill. "designed by Cadet [James McNeill] Whistler", lith. by Sarony and Major: 2 cadets in uniforms, outdoors, with background of Hudson River, hills, boats, etc, ornamental enframement of foliage, latticework. Pl. no.: 1600.

Hand-colored engraved caricature; soldier of 10th Hussars being kicked down flight of stairs by irate civilian. Hand-colored engraved caricature; soldier of 10th Hussars being kicked down flight of stairs by irate civilian. Small oblong folio, matted; margins severely trimmed; slightly worn. London, Parker Gallery, 1954.

Subject: Full-length portrait of 'His Royal Highness The Duke of Cambridge'; by J. Brandard, printed by M. & N. Hanhart. Subject: Full-length portrait of 'His Royal Highness The Duke of Cambridge'; by J. Brandard, printed by M. & N. Hanhart. Title continues: By Charles d'Albert. Pr. 3/-

Wood-engraved illustration; short text pasted below; one-armed veteran in messenger uniform walking in street. From Frank Leslie's illustrated newspaper, November 4, 1865. Wood-engraved illustration; short text pasted below; one-armed veteran in messenger uniform walking in street. From Frank Leslie's illustrated newspaper, November 4, 1865. Upright, mounted on paper, matted.

Subject: 2nd Dragoon charging; T.W. Lee. Lith, Grosvenor Mews, Bond St. W. Subject: 2nd Dragoon charging; T.W. Lee. Lith, Grosvenor Mews, Bond St. W. Title continues: By Charles Coote.